Mono no aware

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Template:Nihongo,Template:Efn Template:Lit, and also translated as Template:Gloss, or Template:Gloss, is a Japanese idiom for the awareness of Template:Nihongo, or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Origins and analysisEdit

The idiom<ref name=":22">Template:Cite journal</ref> Template:Transliteration comes from Heian period literature, but was picked up and used by 18th century Edo period Japanese cultural scholar Motoori Norinaga in his literary criticism of The Tale of Genji, and later to other germinal Japanese works including the Template:Transliteration. It became central to his philosophy of literature; he saw it as the main theme of The Tale of Genji.<ref name=":22"/> His articulation was the result of well-established poetic readings of The Tale of Genji and the concept became central to his own; Genji was "instrumental" in the term's establishment.<ref name=":3">Template:Cite journal</ref><ref>Template:Cite book</ref> According to Norinaga, to "know" Template:Transliteration is to have a shrewd understanding and consideration of reality and the assortment of occurrences present; to be affected by and appreciate the beauty of cherry blossoms was an example of this knowledge provided by Norinaga.<ref name=":22"/><ref name=":3" /><ref name=":4" />

Japanese cultural scholar Kazumitsu Kato wrote that understanding Template:Transliteration in the Heian period was "almost a necessity for a learned man in aristocratic society", a time when it was a prominent concept.<ref name=":22"/> Donald Richie wrote that the term has "a near-Buddhistic insistence upon recognition of the eternal flux of life upon this earth. This is the authentic Japanese attitude toward death and disaster".<ref name=":1">Template:Cite journal</ref> Various other scholars have discussed the term.<ref name=":22"/>

EtymologyEdit

The phrase is derived from the Japanese word Template:Nihongo3, which means Template:Gloss, the particle Template:Transliteration, which means Template:Gloss, and the word Template:Nihongo3, which was a Heian period expression of measured surprise (similar to Template:Gloss or Template:Gloss), translating roughly as Template:Gloss, Template:Gloss, Template:Gloss, Template:Gloss, or Template:Gloss.Template:Citation needed Template:Transliteration has seen multiple translations, such as Template:Gloss and Template:Gloss; the Latin phrase {{#invoke:Lang|lang}} has also been invoked.<ref name=":4">Template:Cite journal</ref> Due to the Buddhist influence in Japan, the expression has also seen connection to the Anicca, which is one of the three marks of existence in buddhism, representing impermanence.

Awareness of the transience of all things heightens appreciation of their beauty, and evokes a gentle sadness at their passing.Template:Citation needed Norinaga saw the state of being Template:Transliteration as the fundamental condition of the concept.<ref name=":22" />

The term has seen gradual change in its meaning, although "from the beginning it represented a feeling of a special kind: 'not a powerful surge of passion, but an emotion containing a balance...'".<ref name=":5" />

In contemporary cultureEdit

Template:Transliteration is "one of the most well-known concepts in traditional literary criticism in Japan".<ref name=":3" /> Yasunari Kawabata was a considerable modern proponent of Template:Transliteration.<ref name=":5" /> Norinaga asserted that the feeling of Template:Transliteration may be so profound that allusions to senses, highlighting "the sound of wind or crickets,Template:Nbsp[...] the colour of flowers or snow", would be the only apt expression.<ref name=":4" />

Notable manga artists who use Template:Transliteration-style storytelling include Hitoshi Ashinano, Kozue Amano, and Kaoru Mori. In anime, both Only Yesterday by Isao Takahata and Mai Mai Miracle by Sunao Katabuchi emphasize the passing of time in gentle notes and by presenting the main plot against a parallel one from the past.

By the 1970s, Template:Transliteration had been adopted in Japanese and English film criticism with noted attention towards the Japanese director Yasujirō Ozu.<ref name=":5">Template:Cite journal</ref> Ozu was well known for creating a sense of Template:Transliteration, frequently climaxing with a character very understatedly saying Template:Nihongo3, after a familial and societal paradigm shift, such as a daughter being married off, against the backdrop of a swiftly changing Japan. Ozu has often expressed feelings by showing the faces of objects rather than the face of an actor. Some examples include two fathers contemplating the rocks in a "dry landscape" garden, and a mirror reflecting the absence of the daughter who has just left home after getting married.<ref name=":0">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Science fiction author Ken Liu's short story Template:Transliteration won the 2013 Hugo Award for Best Short Story.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Inspired by works like the science fiction manga Template:Transliteration, Liu sought to evoke an "aesthetic primarily oriented towards creating in the reader an empathy towards the inevitable passing of all things", and to acknowledge "the importance of memory and continuity with the past".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Akira Kurosawa's I Live in Fear and Shohei Imamura's Black Rain have been associated with the term.<ref name=":1"/>

In Mike Carey's Rampart Trilogy, "Monono Aware" is the pseudonym of a Japanese pop star whose personality and memories are licensed as content for the Sony DreamSleeve, an AI-enhanced music player released before the fall of human civilization.

NotesEdit

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ReferencesEdit

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External linksEdit

{{#invoke:citation/CS1|citation

|CitationClass=web }} from a Japanese culture class at Ohio State University

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